World Propaganda (21 results)

British army officer (1880-1955). One page, folio. Very good. Docketed and bearing R.S.A. stamp. Unusual letterhead for a governmental department of the period. He has not received the letter, which must have been misaddressed. 'Nevertheless, I shall be glad if you will kindly forward me a copy of the Journal with the Advertisement in, and walso the exact quantity of Posters you require.'.

Paperback. Condition: Good. First Edition. Hamburg-Bahrenfeld: Cigaretten-Bilderdienst, 1941. In German. World War II era German propaganda providing an illustrated history of the British as a predatory and often brutal state. Numerous illustrations in color and black and white mounted on pages throughout. Softcover with front cover illustration, 12.25 inches tall, map endpapers, 129 pages. Edges heavily rubbed with some corner creasing, rear cover scuffed, sound binding, age-toned but clean pages, no names or other markings. First Edition. Soft Cover. Good. Folio - 12" - 15" Tall.

See his entry in the Oxford DNB. A scarce item: no copy in the British Library and the only copies on COPAC at Cambridge and the V & A. In fair condition, lightly aged and with slight creasing to outer edge of front cover, on which a label has been laid down, carrying an inscription (repaired at one corner with archival tape) by Thomas: 'From one child to another - Love and I cant thank you enough for everything - I'll look forward to Janiuary - Muh love I'll writer later'. A stapled pamphlet in brown card wraps. 16pp, landscape 8vo. A striking and attractive item, designed to look like a young child's notebooks, the covers having the deliberate appearance of a brown-paper wrapper, with a mock-charcoal illustration of Churchill in tin 'Victory' hat and blue boilersuit, smoking a long cigar. Title on cover: 'Close-ups | Through a childs [sic] eyes | by Bert Thomas'. Purportedly the work of a child named 'Pam', the pamphlet contains childlike images and text, with pages on 'Mr Churchill', 'Mr Roosevelt', 'Premier Stalin', 'Gen. Sikorski', 'Vhisnh Kai-shek', 'Gen De Gaulle', 'Field M. Smuts', 'Eleanor' ('or Mrs Roosevelt'), 'Lord Woolton', 'Mr. Maisky', and 'Five bad men': 'Hitler', 'Mussolini', 'Doctor Goebels', 'Goreing' and 'Laval'. See Image.

Seven scarce examples of English Second World War propaganda, six aimed at Germany and the last at France. Ephemeral and scarce. The seven are clear and complete, on lightly-aged paper with occasional minor rust spotting. Each consists of two pages printed on a leaf 21 x 13.5 cm, except for Five, the dimensions of which are 21 x 13 cm. Five (red and black) is the only item not printed simply in black and white. All seven in German, except Seven, which is in French. All translations in typescript and on A4 leaves. ONE: Headed 'Deutsche Luftwaffe uber Grossbritannien GESCHLAGEN!' Ends 'Sieht das nach einer deutschen Luftherrschaft aus?!' With table. Ownership inscription of 'W. A. Green' at head. Translation (2 pp) headed 'German Air Force beaten over Great Britain.' TWO: Headed 'Wer spricht die Wahrheit? Photographs of Churchill, Goebbels and an American plane. Translation (one page, first part only) headed 'Who is telling the truth?' THREE: Headed 'Drei Versprechen'. Translation (5 pp, initialed 'W. A. G.') headed 'Three promises.' FOUR: One page headed 'Gestapolen' and the other 'Wer sind die Plutokraten?' The second page Carries a caricature of 'Dr. Ley' in the back of a limousine and a cartoon of a sleeping couple dreaming of a car. Translation (1 p, initialed 'W. A. G.') headed 'Gestapoland.' FIVE (in red and black): Headed 'Nach Hitlers Sturz'. SIX: One page headed '1914 Die Annektionspolitik' and the other '1917 Sieg im Osten!' Illustration on frist page of Foch and Hindenburg, and on the second illustrations of a German soldier returning home to an impoverished wife and child, and of a German soldier, blinded in one eye, being embraced by his sweetheart. Translation (one page, initialed 'W. A. G.') beginning '1914 The policy of annexation in Belgium aroused the indignation of the civilised world'. SEVEN: In French. Headed 'Femmes Francaises! Meme si, aujourd'hui, ils affectent la courtoisie, ce sont LES MEMES ALLEMANDS QU'HIER!' Translation (2 pp, initialed 'W. A. G.') headed 'French women! Even if today they pretend to be courteous, they are the same Germans as yesterday!' The two copies, on photographic paper, are as follows. EIGHT (12mo, on two separate pieces of photographic paper): Headed, on one side, 'Hitler Mathematik'; and with two photographs of corpses on the other, with caption 'Fuhrer befiehl, Wir folgen Dir.' Translation (12mo, 1 p, initialed 'W. A. G.') headed '(Of red border) | "Command us, Fuhrer, and we will follow you". NINE (12mo, 1 p): Headed, beneath eagle and swastika, 'Amtliche Bekanntmachung.' Translation (4to, 2 pp), headed '(Here is the sign of the eagle and swastika) | Official Announcement.' COPAC does not appear to give any results for any of these items.

Two coloured fan prints, 27.5 x 26cm. Occasional light marks, a little light browning. Very good. These two propaganda prints were created to make children's paper fans, each carrying patriotic messages and delicately rendered in bright colors.The first sheet features a young boy on a white horse blowing a bugle. A Japanese warplane is seen flying in the sky with the rising sun in the background. The caption urges people not to disclose any military secrets, even to close friends. Additionally, the lyrics of the 1940 nationalistic song, "Kokumin Shingunka", are printed on the sheet. The second sheet depicts an idyllic scene of children playing by a lake, catching dragonflies and fish. The boys are portrayed in more active roles, while the girls hold a bucket or a cage. The message on this sheet reads, "East Asia's Future is Bright and Children are Thriving." A warplane can be seen in the sky in the far distance, subtly tying the peaceful scene to the wartime context.

One of the series of "careless talk" posters produced by the British government during the Second World War. This design was put in public telephone boxes (see Hastings and St Leonards Observer, 19 July 1941). Offset lithograph, 169 x 145 mm. In fine condition.

One of the series of "careless talk" posters produced by the British government during the Second World War, appealing for the public to avoid discussing shipping: "Never in the bar of barber's, talk of ships or crews or harbours. Idle words, things heard or seen, help the lurking submarine". Offset lithograph, 298 x 252 mm. Very light rubbing and creasing. An excellent copy.

A poster produced during the Blitz to remind civilians to be ready each night for their home being hit by bombs - to leave windows open to escape, have water and sand in buckets ready to fight fire, and to have gas masks, clothes, and a torch ready. Offset lithograph, 379 x 253 mm. Inky finger-print at bottom right. In very good condition.

One of the series of "careless talk" posters produced by the British government during the Second World War, presenting a tight-lipped, heroic sailor, with the appeal to "never mention arrivals, sailings, cargoes or destinations to anybody". The British government feared both that enemy agents may hear vital secrets and that rumours may spread and undermine the war effort. Offset lithograph, 370 x 249 mm. In fine condition.

A striking British wartime poster appealing for salvage, showing Hitler, Goebbels, and Goering cowering under a barrage of newspapers, pots, and bones thrown by a mob of British housewives. The poster tells housewives that "you can have a 'smack at 'em'. There are war weapons in your household waste". It instructs them to separate out paper, metal, and bones from their house waste, to be collected and used in munition manufacturing. The title is a quote from Herbert Morrison, which was also used for a Pathé newsreel and a popular song. Offset lithograph (379 x 252 mm). Tiny chip at foot, light crease at head. In very good condition.

Very good. Verso repairs and reinforcement along original fold lines. Toning. Size 21 x 15.5 Inches. This is a colorful, richly illustrated November 1, 1937 (Showa 12) Ishida Eisuke propaganda manga map of China, Korea, Manchuria, and Japan in the early months of the Second Sino-Japanese War (1937 - 1945). Despite the cartoonish figures, the topic was deadly serious and Ishida was able to include or allude to a great deal of information on military affairs and geopolitics while also conveying the Japanese, or at least the Japanese government's, views on the war. A Closer Look at the Map The map indicates major rail and air routes in East Asia and the resources provided by different areas, along with the location of Chinese fortifications, 'red areas' (??????, the red T shapes), Japanese-occupied areas, and areas under Japanese arial bombardment. As was common with Japanese wartime propaganda, Chinese civilians appear to eagerly welcome Japan's invasion, as do Mongols, including one soldier of the Mongolian People's Republic. The largest inset at bottom gives a day-to-day chronicle of the progression of the war in China on several fronts. The verso contains maps of the situation in Jiangnan (the Lower Yangzi region) and in Shanghai, with insets explaining recent developments as well as political and military terminology. Women's Club (?????) This map was issued as an appendix for the November 1937 issue of Women's Club (?????), a fashion and home life magazine that focused on children's fashion, cooking, and interior design. As militarism in Japan and the conflict in China intensified, there was a backlash against the 'modern girl' trend of the 1920s, and the ideology of 'good wife, wise mother' (????) predominated. But this map hints at the dramatic changes in gender roles that the war would bring about. Much as in the West, the war effort pulled Japanese women out of the home and into offices and factories. These trends continued after Japan's surrender and occupation in 1945, aided by the elimination of wartime social controls and weakening of nationalist-patriarchal ideology. Popular Culture and Wartime Propaganda Although anime and manga are usually associated with postwar Japanese popular culture, these forms of cultural production have a deeper history and manga was already the object of popular consumption when the war in China began. As in the United States and other countries, comics and animation were utilized as a form of propaganda during the war. In Japan, two films ( Momotar?'s Sea Eagles , 1942 and Momotar?: Sacred Sailors , 1945) using the popular Momotar? character and other figures from Japanese folklore were important not only for their propaganda effect, but also because they were the earliest animated films in Japanese history and among the earliest in Asia. Outside of animation, popular magazines like Women's Club and Boys' Club (?????) were enlisted in promoting militarist nationalism, as when the former publication appeared to celebrate the killing of Chinese prisoners of war in Nanjing. The 'China Incident' Starting with the Japanese invasion of Manchuria (the 'Mukden Incident') in September 1931, Chinese and Japanese troops fought on-again, off-again battles in northern China for several years. One of these many skirmishes took place on July 7, 1937, at the 'Marco Polo Bridge' (Lugouwiao; ???), just to the southwest of Beijing. Chiang Kai-Shek was reluctant to throw his armies into a full-scale war against the better trained and equipped Japanese forces but was forced to bow to public pressure and launch the long-expected war. Chiang decided to throw the bulk of his forces into a battle for Shanghai, which was raging when this map was distributed. This effort proved unsuccessful after several months of bitter fighting. Severely weakened by the fighting in Shanghai and with many units in disarray, Chiang planned a retreat to Chongqing (??), deep in the Chinese interior, and prepared for a long-term wa.

One of the most striking American wartime propaganda posters, depicting a Nazi fist stabbing through the Bible against a vivid red background. "This is the Enemy" was the slogan of various American posters focusing on the evils of Nazi ideology and actions, here presenting their attack on freedom of religion and their threat to Christian civilization. The artist Barbara Marks was a Californian art student. The Office of War Information solicited entries from the public for poster designs and received over 2,000. Her original slogan was "deliver us from evil". Offset lithograph, 710 x 560 mm. Light creases where formerly folded and a couple of tiny chips at intersections. A near-fine copy.

Leather Bound. Condition: New. Language: mul. Language: mul,swe,nob,dan. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1920. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - mul,swe,nob,dan, Pages: - 69, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 69 69.

Broadside issued in 1941 by the Emergency Committee to Stop Deportations to the Sahara Desert, articulating an urgent appeal against the forced deportation of anti-fascist refugees by the Vichy French government during the early years of the Second World War. Written by Edward K. Barsky, a leading figure in the Joint Anti-Fascist Refugee Committee, the document calls on American citizens to intervene diplomatically by contacting both the French Embassy in Washington, D.C., and the U.S. Secretary of State. The broadside documents contemporary awareness of mass deportations and forced labor policies under the Pétain regime, describing plans to remove large numbers of refugees-including veterans of the Spanish Civil War, members of the International Brigades, and political exiles from across Europe-to labor camps connected to the Trans-Saharan Railroad. The text situates these actions within broader patterns of repression, highlighting the targeting of anti-fascist populations and the international composition of those affected. As such, the document provides primary-source evidence of early wartime advocacy efforts in the United States responding to refugee persecution and authoritarian policies in Vichy-controlled territories. Single-page printed broadside. New York: Emergency Committee to Stop Deportations to the Sahara Desert, 1941. Measuring approximately 10.25 x 8 inches. Printed in black text within a ruled border on brown paper. The text consists of a headline, explanatory statement, and direct appeal for public action, including instructions to contact diplomatic officials. Light wear consistent with age; text clear and legible; overall very good condition. A scarce wartime advocacy document reflecting early American engagement with the European refugee crisis under Vichy rule.

Very good. Backed on linen. Size 27.5 x 39 Inches. This is a large-format 1944 Dante Coscia Italian fascist, anti-American propaganda poster. Intended to instill fear of the U.S. and Allied occupation of Italy, the poster stokes anti-Black racism, a common theme in Italian fascist propaganda, especially as the regime's control of the Italian Peninsula was slipping. A Closer Look The poster features a seated African-American man in an Uncle Sam outfit whose feet are being scrubbed by an Italian man. Uncle Sam's menacing grimace and clawed fingers, one hand looming over Europe on an adjacent globe, reinforce the conspicuous message. The poster is designed to threaten Italian masculinity, as the Italian man is forced to clean Uncle Sam's shoes as his family watches in shame, and Uncle Sam appears to be eyeing his wife. The full caption beneath the illustration reads: 'Free America promises dollars and work to Italians; but if 12 million of its unemployed workers live on subsidies, what work can it give to the vanquished people if not servitude and dishonor?' Dante Coscia and Italian Fascist Propaganda Dante Coscia (1912 - 1986) was one of a group of prolific Italian propagandists of the World War II era whose dramatic, richly-colored chromolithographic prints lent power to the blunt messaging of the fascist regime. Coscia was similar in style and ideology to the better-known illustrator Gino Boccasile (1901 - 1952) and, like Boccasile, appears to have been a true believer in Mussolini, following the dictator until the end of the war. (Boccasile even joined the Nazi Italian Division of the Nazi S.S.) Both artists developed a penchant for anti-American propaganda that drew heavily on Italians' racial anxieties as well as widespread distaste for perceived American decadence, materialism, and usurious exploitation of Europe in the years after the First World War. Despite their wartime activities and Boccasile's brief arrest at the end of the war, after which he was 'blacklisted' and reduced to sketching pornography, both artists appear to have rebounded quickly and had successful postwar careers producing apolitical works, especially advertising. Historical Context Although the exact date (month and day) of this work's production is unknown, Italian fascism was already facing an existential crisis at the start of the year marked here, 1944. The Allies had already captured Sicily, bombed Rome, crossed the Straits of Messina, and were fighting their way up the Italian Peninsula. On July 24-25, 1943, plots involving King Vittorio Emanuele III and opponents of Mussolini in the Italian government were enacted, bringing down Mussolini as the country's Prime Minister and placing him under arrest. Now, with Pietro Badoglio heading the government, secret armistice negotiations with the Allies began and were formalized in early September. At this point, Italy formally stopped fighting the Allies, while the Germans vowed to continue fighting any Allied offensives on the peninsula. Italian troops behind the frontlines were forcibly disarmed by the Germans, who also launched a daring airborne raid on the prison holding Mussolini to free him and undertook increasingly brutal anti-insurgency campaigns throughout the parts of Italy they occupied. Meanwhile, the Allies continued to fight a grinding and costly campaign against well-entrenched, mostly German defenders. By December, Mussolini headed a new rump fascist state dubbed the Italian Social Republic, better known as the Republic of Salò after its de facto capital. Surrounded by true believers and defended, as best possible, by the Germans, Mussolini clung to power over constantly diminishing territory until the last days of the war, when he was captured and executed by partisans on April 28, 1945. As the situation of the fascists was increasingly desperate, their propaganda became increasingly shrill. The supposed dangers of Allied occupation were regularly emphasized, with the Black soldiers.

Very good. Closed tear extending 1 inch into printed area (through Delattre imprint in lower left corner below bottom border) professionally repaired on verso. Size 23.25 x 37.25 Inches. This is a c. 1917 G. Delattre World War I French propaganda map of the United States. The map celebrates the U.S. entrance to WWI on the side of the Entente just a few weeks prior. This was an era-defining event that brought new hope to the long-suffering French forces then mired in a static but high-cost trench war. A Closer Look After years of hardship and deprivation, this map aims to raise national morale and promote the wave of fresh supplies then en route from the United States. Text in the upper right lists incoming goods, including ammunition, wheat, gasoline, cotton, machinery, ships, and soldiers. Other supplies are scattered across the U.S., such as gold, silver, iron, beef, and corn. The phrase above the map is Woodrow Wilson's quote, 'We are brothers in the same cause.' Wilson said this in his farewell speech to the French Minister of Justice (and former Premier) Rene Viviani, who visited Washington after the American declaration of war. Vivani repeated the phrase several times in public remarks after returning to Paris. Publication History and Census This poster was created c. 1917 and printed by G. Delattre. We note a single example in OCLC, which is at the University of Illinois at Urbana Champaign. We also note cataloged examples in the French National Archives, the PJ Mode Collection at Cornell University, and the archives of the French Department of Calvados. The map appears occasionally on the private market. References: Cornell University, Persuasive Maps: PJ Mode Collection, 2275.01. French National Archives 6 Fi 3265. OCLC 1263615081.

Very good. Several small tears along border professionals repaired. Small water stain on left side of upper border. Size 15.5 x 20.5 Inches. A dramatic piece of wartime propaganda, this c. 1914 Russian-language lubok illustration celebrates a rare Belgian victory in the opening phase of World War I (1914 - 1818). It was printed by M. A. Streltsova and was the 7th in a series of such propaganda broadsides titled 'European War.' A Closer Look This piece depicts an engagement in late September 1914 near Mechelen (then Malines) on the approach to Antwerp and the ring of fortresses that surrounded it. As the text below explains, advancing German troops were caught unawares when the Belgians destroyed nearby dams, flooding the flatland where they had amassed. Then, the Belgians began firing on the mired German troops from the adjacent Antwerp forts. The broadside celebrates the battle as a great victory that would 'teach the Germans a lesson' but, in reality, the Belgians were forced to surrender Antwerp only weeks later and retreat westwards, leaving most of the country under German occupation. Lubok (??????) Prints Lubok prints are a tradition of inexpensive, popular prints that began in Russia in the 17th century. Lubki were initially produced by woodblock printing but were adapted to modern printing techniques, including copperplates and lithography. They were typically simple but colorful graphics intended to capture attention, usually with minimal text as, when the tradition began, the intended audience was often illiterate. Lubki could touch on a variety of subjects, including religion, folk culture, and famous battles, but lent themselves particularly well to satire. They were sometimes serialized and are considered a predecessor to modern comic strips. Though they fell out of favor in the early 20th century, lubok prints are now seen as a unique window into pre-modern popular culture. Publication History and Census This work is the 7th in the series of propaganda prints titled 'European War' (??????????? ?????), subtitled (at bottom) 'The Belgians exploding their dams and the death of German troops near Malines.' No artist is named, but it was lithographed by M. A. Streltsova (? ? ??????????) in Moscow. This work is quite scarce. The Library of Congress catalogs a digital example of the print, part of a larger collection of Russian World War I propaganda assembled by the World Digital Library and originally held by the British Library. However, we have been unable to locate the work in the British Library admittedly confounding catalog. References: Library of Congress Control Number 2021669134.

Very good. Mounted on heavy linen. Size 33.5 x 23.25 Inches. This is a powerful 1945 Slovak-language Soviet World War II propaganda poster heralding the achievements of the Yalta Conference and the Allies' agreement to continue the fight until Germany was defeated. The evocative image set against a bright yellow background features three fists (representing the United States, the United Kingdom, and the Soviet Union) punching a dejected and depressed Hitler. A Nazi swastika is breaking apart in the background. The text reads, 'Nácistické Nemecko bude dobité v najkratom ?ase - tak sa rozhodli Stalin, Roosevelt a Churchill na krymskej konferencii' ('Nazi Germany will be conquered in the shortest possible time - this is what Stalin, Roosevelt, and Churchill decided at the Crimean conference'). The Yalta Conference The Yalta Conference was a meeting between U.S. President Franklin D. Roosevelt, U.K. Prime Minister Winston Churchill, and Soviet General Secretary Joseph Stalin. It occurred at Yalta in Crimea and was held February 4 - 11, 1945. The participants discussed how to shape postwar Europe and declared an intention of self-determination for liberated Europe. Slovakia during World War II On March 14, 1939, an independent Slovakia was declared, emerging out of Hitler's invasion of Czechoslovakia. Slovakia was led by Jozef Tiso, a Catholic priest, and signed a friendship agreement with Nazi Germany. Slovakians fought in the German Army on the Eastern Front for the entirety of the war. In 1944, the Slovak National Uprising broke out and lasted from August 29, 1944, until late October. This forced Nazi Germany to send troops needed on the Eastern Front to secure Slovakia. The Soviet Red Army slowly liberated Slovakia in the spring of 1945 and entered Bratislava in early April, ending collaborationist independent Slovakia. After the end of the war, Czechoslovakia was reestablished. Publication History and Census This poster was published in 1945 by the Soviet government. This is the only known surviving example of the 1945 edition in Slovakian. We are aware of 2 surviving examples of a 1944 Russian language edition, which are held by the Vabamu Museum of Occupations and Freedom in Tallinn, Estonia, and the Boris Yeltsin Presidential Library in St. Petersburg.

Good. Wear along original fold lines. Some toning and foxing. Small area of infill. Closed edge tears that extend through border slightly into printed image repaired on verso. Size 19 x 29 Inches. This is a 1943 F. Donald Blake French-language pictorial propaganda map of Great Britain and continental Europe at the height of World War II (1939 - 1945). The map's message is clear: the tide of war has turned, and British RAF forces are taking a heavy toll on Nazi-dominated Europe. A Closer Look Coverange embraces the British Isles and continental Europe from Ireland to Danzig. Royal Air Force bring destruction to Nazi Europe, bombing factories, airfields, railroads, bridges, and cities. Cities and war infrastructure throughout are in flames, but Paris remains unharmed. An inset along the bottom border focuses on northern Italy, where Turin, Milan, and Genoa burn. Meanwhile, in Britain, factories build tanks, airplanes, ships, and artillery. Coastal batteries guard the British coast, and the air defense fleet fans across the North Sea, the Atlantic, and the English Channel. Convoys of aid from the U.S. and Canada arrive in Britain from the upper left. At this point in the war, Britain had become the fer de lance de l'attaque [spearhead of attack]. Publication History and Census This map was drawn by Frederick Donald Blake and published in 1943. We note cataloged examples of the present edition as being part of Persuasive Maps: The PJ Mode Collection at Cornell University and the Princeton University Poster Collection at the National Museum of American History. The National Museum of American History also holds editions published in Italian, Arabic, and Persian. An English edition was also published. All editions are rare to the market. References: Cornell University, Persuasive Maps: PJ Mode Collection ID Number 1315.01. National Museum of American History Princeton Poster Number 4332.

Excellent. Minor paper texture/buckling insmallareas. Size 15.25 x 18.25 Inches. A striking c. 1917 propaganda piece from the First World War era, this illustration was drawn by Ernest Fuhr for the United States Food Administration to encourage sugar rationing. The American sugar addiction, which relied on huge fleets to transport raw sugar from tropical ports in the West Indies, significantly reduced the number of oceangoing transport ships that could be commandeered for the war effort - leading to proactive domestic encouragement of rationing. A Closer Look The illustration depicts a young woman imbibing a sugary drink through a straw. The bottom of the cup from which she drinks is open, allowing ships carrying sugar to be sucked into the cup instead of proceeding to Europe along with other supply ships. A dark cloud hangs in the background with the words 'War' and 'Hurry!' appearing within it. Text explains that 400 million pounds of sugar were imported to the U.S. the previous year, on ships which could otherwise support the war effort. The United States Food Administration Established by Executive Order on August 10, 1917, the United States Food Administration was tasked with the production, distribution, and conservation of food within the U.S. for the duration of the war. The agency was largely defined by its leader, future U.S. President Herbert Hoover. At the start of World War I (1914 - 1918), Hoover was a successful mining executive living in London. When tens of thousands of Americans (many of them tourists) fled the continent to England trying to return home, Hoover organized a committee to help manage their travel, often by forwarding loans to cover their expenses. This work got the attention of the American Ambassador to the U.K., who asked Hoover to establish another committee to provide food relief to Belgium, which was suffering a terrible food shortage following German invasion. Overcoming both logistical and diplomatic challenges, the Commission for Relief in Belgium negotiated with both sides in the conflict to deliver food (mostly American flour) through the British blockade and even through German lines. This work made Hoover a natural choice to handle food related issues on the Home Front once the United States entered the conflict in 1917. Hoover agreed on the condition that the agency was given wide authority and autonomy, which it exercised to great effect. To encourage food rationing through voluntary means, the Food Administration employed memorable slogans ('meatless Mondays,' 'wheatless Wednesdays') and dramatic propaganda illustrations such as that seen here, distributed by an army of volunteers, mostly women, in public venues. The agency also regulated prices and established a Grain Corporation to buy and sell foodstuffs. These efforts allowed the U.S. to continue to feed its population while also shipping millions of tons of food to Europe to support troops and civilians. Hoover became a well-known public figure and the darling of progressives, who saw him as the apex of bureaucratic planning and efficiency. Though he unsuccessfully ran for president in 1920, he became Commerce Secretary in the Harding-Coolidge Administration, setting him up for a successful presidential run in 1928. Publication History and Census This illustration was produced by Ernest Fuhr in 1917 or 1918 and printed by the Carey Printing Company for the U.S. Food Administration. It is sometimes erroneously attributed to Jonas Lie, an illustrator who produced similar wartime propaganda works. Eleven institutions are listed as holding this piece in the OCLC. In addition, it is held by the University of Alabama, the Perkins School for the Blind, the Emil A. Blackmore Museum of The American Legion, the Philadelphia Museum of Art, and the Metropolitan Museum of Art. References: OCLC 51119062, 51040576, 10215104, 1135198817.

Average. Full professional restoration. Mounted on linen. Areas of infill and small area of loss in lower right corner. Size 39 x 26.5 Inches. In this iconic c. 1917 Lloyd Myers World War I recruiting broadside, a British soldier stands in Britain and France while a well-dressed recruit looms over the United States, and the two clasp hands over the Atlantic. When this broadside appeared, Britain had been fighting in World War I (1914 - 1918) for over two years. The trench warfare on the Western Front had decimated the British Army. During the Battle of the Somme, which raged from July 1, 1916, until November 18, 1916, the British suffered over 57,000 casualties. The British and Canadian Recruiting Mission The British and Canadian Recruiting Mission operated under the British War Office and was created to recruit British subjects in the United States as well as Americans to serve in the Canadian Expeditionary Force and recruited approximately 45,000 individuals before the United States entered World War I on April 6, 1917. One of its major offices was at 280 Broadway in New York City. Publication History and Census This iconic broadside was created by Lloyd Myers and published c. 1917, likely by the British and Canadian Recruiting Mission. This broadside is well represented in institutional collections.